Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Saudi Arabia and from Delhi.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1965 to 1973.
I'm losing my edge.
To all the kids in Halifax and Columbus.
I'm losing my edge to the art-school Copenhagen kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1978 at the first Visage practice in a loft in London.
I was working on the theremin sounds with much patience.
I was there when Lou Reed started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing James White and The Blacks to the punk kids.
I played it at the Crocodile.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Suburban Knight. All the underground hits.
All Das Ding tracks. I heard you have a vinyl of every Terry Callier record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a clarinet and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Lower 48 record.
I hear that you and your band have sold your rhodes and bought a 808.
I hear that you and your band have sold your 808 and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Al Stewart,
Ornette Coleman,
The Trojans,
Steve Hackett,
The Birthday Party,
Kings Of Tomorrow,
Hardrive,
Cal Tjader,
Howard Jones,
The Gap Band,
Gian Franco Pienzio,
UT,
Kauko Röyhkä ja Narttu,
Rowland S Howard / Lydia Lunch,
Essential Logic,
Camouflage,
Peter & Gordon,
Cybotron,
Joyce Sims,
The West Coast Pop Art Experimental Band,
Mark Hollis,
Pulsallama,
Marvin Gaye,
Slave,
Yazoo,
Bobby Womack,
Zero Boys,
James White and The Blacks,
Oneida,
Stetsasonic,
The Martian,
Urselle,
Orchestral Manoeuvres in the Dark,
Skriet,
The Move,
Deakin,
Gil Scott Heron,
Donny Hathaway,
Pussy Galore,
Alison Limerick,
Sun City Girls,
Gil Scott-Heron and Jamie xx,
Todd Terry,
Bill Wells,
Davy DMX,
Major Organ And The Adding Machine,
Quadrant,
Wolf Eyes,
Marc Almond,
Super Lover Cee & Casanova Rud,
The Doobie Brothers,
Louis and Bebe Barron,
Ronan,
The Walker Brothers,
Lalann,
Mantronix,
Wasted Youth,
The Gladiators,
Qualms,
Kaleidoscope,
Gang of Four,
Chris Corsano, Chris Corsano, Chris Corsano, Chris Corsano.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.